Richard J. Clark has served since 1989 as Music Director and Organist at Saint Cecilia Church in Boston, Massachusetts. He is also Chapel Organist (Saint Mary’s Chapel) at Boston College. For the Archdiocese of Boston, he directed the Office of Divine Worship Saint Cecilia Schola. His compositions have been performed on four continents.

“In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things.”
— Vatican II Council

HOPETHETIDE IS TURNING. I believe it is. But still how many times have we heard: “We shouldn’t use that because nobody can sing it”? This reasoning is often applied to various chants, (if not all chants), especially in Latin. Startlingly, I’ve heard this in reference to the simplest of chants, including Ubi Caritas and Missa XVIII or the ICEL Chants based on such. The logic of avoiding chant is justified by its very neglect, so therefore we must avoid it even further.

This is a self-fulfilling prophecy, is it not? Don’t sing something because it won’t yield instant external results. Of course, the people won’t sing something that’s been neglected for decades. Shall we pound the nail into the coffin ever deeper by continuing the status quo? Or shall we do the hard work required to preserve and foster our treasure of sacred music with great care as Vatican II demands? (Sacrosanctum Concilium §114) Additionally, Sacrosanctum Concilium §115 states: “Great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutions and schools. To impart this instruction, teachers are to be carefully trained and put in charge of the teaching of sacred music.”

75. Each worshiping community in the United States, including all age groups and all ethnic groups, should, at a minimum, learn Kyrie XVI, Sanctus XVIII, and Agnus Dei XVIII, all of which are typically included in congregational worship aids. More difficult chants, such as Gloria VIII and settings of the Credo and Pater Noster, might be learned after the easier chants have been mastered.

The document also encourages:

132. “…one should never underestimate the ability of persons of all ages, cultures, languages, and levels of education to learn something new and to understand things that are properly and thoroughly introduced.

ITHREGARD TO THECREED, not singing it is a bit more curious. Why do we not sing what we profess to believe? This is arguably one of the most important liturgical actions of the mass and therefore demands “greater solemnity.” (“...sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” S.C., §112. )

However, it is lengthy and perhaps intimidating to some. But my feeling is that the impediment at this time is more cultural than musical: For example, Anglo-Catholics would rarely consider not singing the Creed. They sing it every week, usually the same setting and in English, so to them it’s musically easy. It is part of their culture.

And it used to be part of ours. It still is in some pockets. But forget the complaining and let’s take stock of where we are now. How can singing the Creed become a regular part of the liturgy once again?

1 • Heed the direction of SttL §75 & §132 (above), with special attention that music and concepts in liturgy be “properly and thoroughly introduced.”

2 • Pick only one setting of the Creed and sing it every week. Would one expect a Gloria, no less a Credo, to be learned by a congregation in just one or two weeks or with sporadic use? This will take time and patience. It will not yield instant results.

3 • We must catechize: Why sing the Creed at all? Because it is an extraordinarily important liturgical action of the priest and congregation together. Its purpose is “...that the whole gathered people may respond to the Word of God proclaimed in the readings taken from Sacred Scripture…and that they may also honor and confess the great mysteries of the faith…” (GIRM §67) Singing brings about a fully active response to the Liturgy of the Word. Confessing the great mysteries of our faith is greatly enhanced by the marriage of melody and word. Music often expresses the mysteries that words alone cannot.RECENTLYHAD A REVEALING CONVERSATION with my mother. She grew up in the 1930s and 40s in a parish in New York City where they sang the Credo every week. Remarkably, she said, “It’s easy,” as she sang the Credo III from memory. She hasn’t sung it in over fifty years. (Not a professional musician, she was a school teacher in NYC.) Who today would say singing “Credo III” is easy? Anyone who grew up singing it every week. It was normative. Not controversial. Easy.

Can we ever get there again? Perhaps not anytime soon for most parishes, but yes for those with vision and courage. Consider that with the new ICEL Chants, the leap is no longer so great. The ICEL version of Credo I is not at all intimidating when one experiences its repeated phrases. Also, singing it in English may reduce anxiety for some pastors who may consider taking the leap:

* * There’s also the ICEL version of Credo III, here although I suspect this one is still easier in Latin.

“The Credo can be handled responsorially, with the congregation singing the opening phrase of Credo III, “Credo in unum Deum,” accompanied by organ, as a refrain. The cantor (unison) or choir (SATB) would then sing eight verses, in pairs, to a recurring pattern, with a refrain after each pair of verses. The congregation also may sing the full text to the recurring pattern. The movement ends with the Amen music from Credo III.”

It takes fortitude to try to sing a Credo every week. But in time, it should bear much fruit. My prayers are with you!

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Priests have expressed concern about throwing the Word of God into the garbage every few months. The Isaac Jogues Illuminated Missal contains the complete Sunday readings for Years ABC, complete Gradual texts, and magnificent page layouts.

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This new Gregorian Chant Mass (with optional organ accompaniment) uses the new ICEL translation of the Roman Missal. We provide free practice videos, vocalist scores in modern and Gregorian notation, congregational booklets, and much more!

Kevin Allen's brilliant new SATB collection of twelve (12) Sacred Motets that can be used all throughout the Liturgical year. 144 Practice videos by Matthew J. Curtis. Optional Psalm tones written out for each piece, in Latin & English.

Here is a newly-composed Gregorian Chant GLORIA in honor of Saint Edmund Arrowsmith (†1628). Please feel free to download the PDF organist scores, PDF vocalist scores (in both Modern and Gregorian notation). This setting uses the new ICEL translation of the Roman Missal.

A 70-page collection of polyphonic Motets that can be sung by the average parish choir! Although the pieces were designed for SSA or TTB choirs, they also work well for mixed choirs. Matthew has also recorded 56 free practice videos to help your choir members learn these beautiful pieces.

Glory to God in the highest, and on earth peace to people of good will. We praise you, we bless you, we adore you, we glorify you, we give you thanks for your great glory, Lord God, heavenly King, O God, almighty Father . . .

If you have an SATB choir that would love a brand new collection of dignified, beautiful, not-too-difficult motets, you need to check out Kevin Allen's "Cantiones Sacrae Simplices." Vocal phenomenon Matthew J. Curtis has also recorded more than 144 practice videos which carefully instruct singers who do not read music well. All 144 training videos are free!

Watershed assisted the Birmingham Oratory with media work leading up to the Papal visit and Beatification of John Henry Cardinal Newman. Our documentary shorts provide online tours of the Oratory, including the Cardinal’s Room and Library as well as the parish church and its chapels.

Distinguished composer Kevin Allen has set twelve Eucharistic Motets for three voices. Although the pieces were designed for SSA or TTB choirs, they also work well for mixed choirs, and a special transposition table has been included for the ease of the choirmaster. Choirmasters and singers will appreciate the fact that these pieces are not difficult to sing.

An hour-long documentary on Sacred Music. Watershed's cameras take you inside the 19th annual Sacred Music Colloquium, sponsored by the Church Music Association of America. The DVD includes a 45-minute, never-before-seen interview with Dr. William Mahrt, CMAA President & Stanford Professor.

The Rt. Rev'd Dom Hervé Courau, Abbat of Notre Dame de Triors, has authorised Watershed to post the Community's Gregorian chant recordings on our sites. For this gracious permission, sincere thanks to Father Abbat, also in the name of all those chanters who will profit from studying these beautiful sung prayers of the Church.

John Henry Newman was born in London (2/21/1801) and died in Birmingham (8/11/1890). As Vicar of St Mary’s Oxford he exerted a profound spiritual influence on the Church of England. Through his extensive published writings and private correspondence he created a greater understanding of the Catholic Church.

This is part of our ongoing Liturgical work, and we are grateful to the many guest composers who generously donate their scores. In addition, we offer free resources for all the other parts of the Mass, and currently provide more than 6,000 free Liturgical scores.

Kevin Allen's world-famous SATB "Tantum Ergo" is now in print. This piece has been enjoyed by many thousands of people, and is featured as the opening piece on "Sacred, Beautiful, & Universal: Colloquium XIX." Corpus Christi Watershed is proud to offer this Motet, along with fourteen other beautiful Motets, in "Cantiones Sacrae II."

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